1. INTRO TO REAL PROJECTS Module Summary This module serves as an introduction to REAL Projects. Students will explore the components of REAL Projects, the exemplary projects completed in UK schools, and will use the project planner to design a project of their own. What You’ll Learn: 1. The six components of REAL Projects and their significance to project design 2. How REAL Projects in the UK demonstrate the six components in their design 3. How to design a REAL Project for use in your classroom

1. Read “I used to think”, by Joe Pardoe

READING & RESPONSE

Joe introduces a significant shift in his understanding as an educator when he was introduced to REAL Projects. Response: What aspect of his personal reflection resonates with your own experiences as an educator? Do you relate more to how he used to be, or how he is now?

I used to think… I used to think that I held very high expectations of my students and that I was empowering them to be lifelong learners and to succeed in the world outside of my classroom. I had a rather negative view of project based learning - I had seen it (or something claiming to be PBL) done badly far too many times. I used to think that PBL was a younger years KS3 gimmick which was rapidly going out of fashion and could never be used to deliver lessons for older students especially those about to take GCSEs and A Levels. Despite my concerns and my belief that my teaching was already ‘outstanding’ (whatever that means) I wanted to buy into the ethos of School 21 and this meant experimenting with REAL Projects. When we started to plan our first project, I was incredibly sceptical and almost dismissed all of the advice I was given - I thought it was an American gimmick which would never stand up to the rigours of the British education system and Ofsted. I was also worried that my students would not be engaged in the topic because they wouldn’t have the ‘pleasure’ of me bouncing around the front of my classroom telling funny anecdotes about WWI - they wouldn’t have my ‘outstanding’ teaching! Additionally, I was worried that they would not develop the incredibly important essay writing skills (which they would need to pass exams) as no one would be teaching it to them. My final worry was time - I was concerned that we were spending a whole term on a topic I could have got through in a few lessons! I used to start planning my units of work based on the idea that students couldn’t do what I wanted them to. For example, I would have to teach students how to evaluate the reliability of sources and then let them apply what I had taught them. And then I saw... My fears seemed to be entirely justified during the first few experiments with REAL Project lessons. The lessons took an entirely different form to what my students and I were used to and I, honestly, struggled to ‘let go’ as a teacher. But, I kept on continually reflecting, reading the theory and seeking advice from those more experienced than me. The more I read and investigated, the more I wanted to keep fighting to try to make it work. I am glad I did. After a few lessons, I started to realise how genuinely engaged my students were in the lessons and just how much they started to progress in both knowledge and skills (both subject specific skills, such as essay writing, and also the ‘softer’ inter-personal skills). I saw them working calmly, professionally and independently in a way I never imagined they would. I started to sit with students one to one each lesson for a good length of

time and really, deeply, critique their work and hold them to account. I started to really understand the needs of all of the students in my class and was able to tailor my feedback in a much more individualised way than I ever had previously. I was able to mark students’ books with them sat in front of me and question them about their knowledge in real depth and correct any misconceptions, or encourage them to think more about concepts if they had ‘got it’. I saw, most worryingly, how low my expectations had been in the past! I started to see that a vast majority of my class could do this without me teaching them (except providing them with some graphic organisers) and indeed, some of them could already evaluate sources much more effectively than I planned to teach them. I was then able to concentrate my teaching on those who needed it in small group sessions. I was astounded by what my students were achieving, how engaged they were in their work and how much I was enjoying my teaching again. And now I see... Now I see why REAL Projects are so effective. They are not only ‘unshackling’ for students but for teachers as well. I have been re-invigorated in my teaching - partly because I can now genuinely see the impact of my teaching in the classroom, partly because I no longer worry about behaviour management or hoop jumping in lessons and partly because teaching has become a rewarding academic challenge. I really feel like a ‘professional’ in a way I never did previously. I am excited about the start of every new term and I spend my time off visiting museums, reading books and looking out for ways that my students can have an impact in their community. I now see that I could not teach in any other way! Joe Pardoe teaches Humanities at School 21 in London. For more information about the work he does with his students, visit his digital portfolio at http://s21humanities.weebly.com/

2. Read “Where Do Projects Come From?”, by Angela Guerrero

READING & RESPONSE

Angela Guerrero had an “aha” moments about projects design whilst visiting an art museum with her sister. She concludes that projects are born from the subjects that we love and find most fascinating. Response: If you consider your own passions and interests, what project ideas emerge? How might these ideas connect to your subject specialisation?

Where Do Projects Come From? Angela Guerrero High Tech High Chula Vista

On a cold October morning, my colleague Breawna and I carpooled to school together as we often do. I piled my bags into the back seat, hopped in the passenger side, handed over a cup of coffee, and settled in for a drive full of teacher talk. The topic of discussion, as it so often is, was how to make projects meaningful and still hit the content needed in the history standards. This is an odd question for us to ponder, since we teach at a school that alleviates some of that “standards” stress by asking teachers to teach what they are passionate about through projects. But there we were, without the pressure of a frustrated principal or a zealous department chair, agonizing over our fear of not giving the kids enough content. This may be because we both started our teaching careers at traditional high schools, attended traditional universities, and attended traditional high schools where school looked very much the same; teachers lectured, students feverishly took notes, a test was given, an essay written and a grade awarded that measured proficiency on some standard. Breawna and I are both struggling to define what education is all about, and building the curriculum around projects requires a break from the past that is often difficult. But on that morning when Bre asked me, “Where do good projects come from?” I felt I finally had something to say. This question, and the struggle to meet standards, plagued my first year teaching at High Tech High Chula Vista. So much of my work in the first year was simply writing and reading—a pretty standard English class by most accounts. As I entered my final grades and completed my first year of teaching, I made a promise to myself to create engaging projects that would also comfort me by hitting standards. But what were the projects going to look like? Where would I get the ideas? Where did projects like that come from? Thirty journal entries, ten morning walks, hours of reviewing the state standards and countless conversations with friends left me no better off with my query as the summer days slipped by. I decided to simply enjoy summer for a while and return to the burning question in August. But then something happened that answered my questions. And it happened while I was enjoying myself, no less. My sister invited me to a local museum to see an exhibition called “Historical Takes,” by Eleanor Antin. I sauntered into the swanky evening exhibition expecting to be impressed by the art. Indeed I was, but it turned out to be a lesson planning adventure like no other. Antin had created a collection of photographic portraits depicting historical tales from ancient Greece and Rome with feminist spins on the events. Helen of Troy was a devious vixen slinging a rifle on her hip. Ancient Grecians strolled casually by the dying veterans of the Trojan War with shopping totes and sunglasses. Wealthy Romans dined in elaborate clothing while servants died in the

wings unbeknownst to their masters. And next to each scene was an explanation of the artist’s “take” on it. I was fascinated and found myself wondering how the artist came up with her interpretations. Then I wondered how I would create scenes from different time periods from different perspectives, say, a nihilist’s perspective, or a child’s perspective on the French Revolution. As I gazed at more images, and wondered more about how to create my own, I felt my legs tremble with delight. I had reached a new understanding. “This is perfect!” I exclaimed to the surprise of the museum docent. History, photography, costume design, set and scene design, research, literature—all these things were present in the work. And they could all be studied in a project modeled after this exhibition. It almost felt like cheating since the idea came to me, not when I was agonizing over the state standards or feverishly writing up drafts at my desk, but rather while I was out looking at art and doing something I enjoyed. From this outing, my 35mm Revolution project was conceived. In this project, students choose a revolution to research and write about and then choose one scene to re-enact in a photographic portrait. We plan to unveil the students’ artwork at High Tech High Chula Vista’s 2009 Festival Del Sol. After the “art aha moment” as I now refer to it, I started thinking about projects while doing all sorts of things I love to do. Checking out music at local venues, I thought about starting a local artist Rolling Stone magazine to teach writing, photojournalism, editing and advertising. Running through the city, I thought about “walking a mile” in the shoes of someone who was homeless. Hiking up in the Sierras, I thought about nature reflections, the history of natural parks and the preservation efforts in California. It seemed that every time I was doing something I truly enjoyed, a new idea for a potential project sprang into my head. Some of the project ideas had been done before, but somehow, this new revelation made them feel fresh, pristine. Do what you love and Let the project drive the curriculum. These are the mantras of my wise teaching partner, Rod Buenviaje. Rod would listen patiently as I voiced my concerns about my inability to come up with what felt like meaningful projects. At the end of each conversation, he would repeat these mantras. I would nod in agreement and stare blankly out the window. I could never fully comprehend what he meant. After viewing Antin’s exhibition, however, the mantras made sense. I was doing something I loved. I was passionate about it. I wanted the kids to see it. I wanted to teach it. It turned into a project that would guide the curriculum. So, where do projects come from? My answer is this: they are born in the places we love to visit, the things we love to see, the tasks we love to lose ourselves in. They are the things we find exciting. They are the things we deem worthy of writing essays and graphing charts about. They come from teachers who fall in love with something and decide to share that something with their students.

Read “Work That Matters”, by Alec Patton Alec Patton provides an overview of the key components of

EXTENSION

project-based learning. Response: Which of the ideas introduced most reflect your current practice in your classroom? Which ideas most challenge your current practice?

The Teacher’s Guide to Project-based Learning

Work that matters The teacher’s guide to project-based learning

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“ This guide is an unusually thoughtful and valuable resource for teachers. It is distinguished by a powerful focus on the integrity and quality of projects – not just doing them, but doing them well.” Ron Berger Chief Program Officer – Expeditionary Learning Schools

“There are always those adventurers in education who are wanting to push the frontiers of what is possible and are driven by a passionate belief in what schooling should and could be like. Here is a guide that can help and inspire others to try too. It is such people who have always found ways to unlock the future for many youngsters who would otherwise spend their lives realising only a fraction of their potential.” Professor Tim Brighouse ex-Chief Advisor to London Schools

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This guide has grown out of the partnership between the High Tech High schools in San Diego, California, and the Learning Futures project, in England. High Tech High

Learning Futures

High Tech High is a group of 11 public charter schools in San Diego. It is non-selective: applicants are chosen by lottery according to postcode, using an algorithm to ensure that the school populations mirror the demographics of San Diego County.

In 2008, the Paul Hamlyn Foundation (a charity) and the Innovation Unit (a social enterprise) launched the Learning Futures project in order to find ways to improve educational outcomes in secondary school by increasing young peoples’ engagement in learning.

When High Tech High began in 2000, its founders decided that rather than focusing on a range of metrics and test scores, they would measure their success by how many of their graduates went on to university. Since then, 99% of High Tech High students have gone on to two-year colleges or universities. 35% of these are the first generation of their family to do so. High Tech High has achieved this remarkable success by building the entire school culture around a carefully designed project-based curriculum. For more information about High Tech High, visit: www.hightechhigh.org

The project has worked with over 40 schools on developing innovative methods of teaching and learning aimed at increasing students’ engagement in learning.

Work that matters The teacher’s guide to project-based learning

Words Alec Patton Illustrations Jeff Robin

Learning Futures has found that welldesigned project-based and enquirybased learning gets young people engaged, and leads to positive learning outcomes. As a result of this finding, Learning Futures formed close links to High Tech High – this guide is one of the results of that relationship. For more information about Learning Futures, visit: www.learningfutures.org

Published by the Paul Hamlyn Foundation February 2012 isbn: 978-1-905500-07-9

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The Teacher’s Guide to Project-based Learning

Contents 11 Section 1: Introduction 15 Section 2: Inspiration 16 The Blood Bank Project 17 Should the US Government Apologise for the ‘Genocide’ of the Native Americans? 18 Wild About Cramlington 19 Field Guide to San Diego Bay 20 Kindergarten Tools 23 Section 3: Foundations 24 The Three Keys to Successful Projects 25 Exhibition 26 Multiple Drafts 27 Critique 28 Critique: How to do it 33

Section 4: Execution

34 1. Get an Idea 42 2. Design the Project 58 3. Tune the Project 62 4. Do the Project 66 5. Exhibit the Project 71

Section 5: Integration

72 Building a Culture of Project-based Learning in your Classroom 77

Section 6: Conclusion

82

Appendix 1: Learning More and Meeting People

87

Appendix 2: Project Documents and Protocols

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How to use this guide

This guide is for teachers. It explains how to design and run projects for students that begin with an enquiry and end with a tangible, publicly exhibited product. There are six main sections: Section 1: Introduction Explains what project-based learning is, and why more and more teachers are doing it.

Section 2: Inspiration Shows the work that students created in five real life projects, with some information about how the projects worked.

Section 3: Foundations

Understanding the icons

SECTION 1: INTRODUCTION

SECTION 1: INTRODUCTION

The Teacher’s Guide to Project-based Learning

This guide is marked with a set of icons that will help you find what you are looking for.

QUESTIONS: Questions, concerns, and anxieties from teachers about project-based learning

STORIES: Stories of project-based learning in schools

TIPS: Tips and strategies that other teachers have found useful

PROTOCOLS: Protocols for conducting workshops and activities

Introduces the three keys to successful project-based learning: multiple drafts, critique, and exhibition.

Section 4: Execution A guide to planning and running projects.

QUOTES: Comments from students and teachers LEARN MORE: Where to find extra resources to learn more

Section 5: Integration Explains how to build a ‘culture of excellence’, which will encourage students to do great work of lasting value.

Section 6: Conculsion The final section wraps it all up.

In the back of the guide you can find recommended further reading, advice on connecting with like-minded teachers around the world, examples of project documents, and protocols for critique. In project-based learning, teachers design the curriculum, rather than just ‘delivering it’. In that spirit, we hope you will treat this guide as a toolkit that you can draw on, rather than as a prescription.

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1. REAL Talk: What are REAL Projects?

WATCH

2. What students think of the REAL Projects components Hear what students have to say about Multiple Drafts and Critique, Significant Content, Student Created Final Product, Public Exhibition, Essential Question and Authentic Audience.

Real Project Cards

ACTIVITIES

Spend as much time reviewing the REAL Projects Cards as you desire. Consider how they demonstrate the six project components. Identify one or two projects as inspiration. What strikes you about them? How might you adapt them for your students and subject areas? What new ideas they raise for you?

Module 1 / Introduction to REAL Projects

Project Cards

Module 1 Introduction to1 REAL Projects REAL Project Cards

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Module 1 / Introduction to REAL Projects

Project Cards

WHAT WILL TRANSPORTATION LOOK LIKE IN 2050?

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Project Overview: Year 7 students at Redruth School worked in groups of 5-6 to research the history of transportation and design new solutions for the future. They used the de Bono’s Thinking Hat strategy to brainstorm all angles of their selected transportation method, and then selected roles within their group to lead on each aspect of the design. They also learned persuasive strategies to present their ideas in a highenergy transportation expo at the end of this project with displays modelled after museum exhibits at the local Maritime Museum.

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Project Timeline: •Week 1: Introduction to the project; Project Launch •Week 2-3: Group roles; History of transportation research and presentations; Brainstorming designs •Week 4-5: Developing Prototypes; Critique & Refinement; •Week 6: Prep for Exhibition, Exhibition

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Module 1 / Introduction to REAL Projects

Project Cards

WHAT DO WE LOVE ABOUT CORNWALL? Image

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Project Overview: Students in each Year 7 tutor group at Redruth School studied different aspects of Cornwall to represent the entire A-Z. The students began the project with an Entry Event to hike to Carn Brea and do creative writing and art activities. Then they worked for three weeks to research, draft descriptive and informative writing, and create art to depict the place or feature of Cornwall that they selected. The students also took on roles in the project to mirror the professional writing and publishing industry. Their final books were bound and exhibited at a Book Launch, which was hosted by the students, and featured speeches by local comedian Kernow King, and two professional authors. Over 300 members of the community were in attendance.

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Project Timeline: •Week 1: Entry event •Week 2: Selected letters and topics; Research; Illuminated Letters •Week 3-4: Critique and Drafting; Illustrations; IT skills for word processing and page layout •Week 5-6: Exhibition Prep; Rehearsals; Exhibition

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Module 1 / Introduction to REAL Projects

Project Cards

BLACK COUNTRY LIVING MUSEUM EXHIBITION Project Overview:

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Year 7 students at RSA Academy thought about what made and shaped their local community from historical events. Students learnt as much as they could about the different aspects of the Industrial Revolution and how this related to their community, including gathering information from an outside visitor from the Black Country Living museum. Students considered their roles within the exhibition which included presenters, tour guides, restaurant staff and roles within their own exhibition room. Throughout the learning and creation of their exhibition piece, students used the critique technique in a variety of forms. The aim was ultimately to create a Black Country Living Museum exploring many different aspects about their local community and the links that it has with the industrial revolution incorporating everything they had learned.

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Student Voice: “The project taught me about where I live and the history of it. I learnt lots about the industrial revolution. I really enjoyed the creative artefact that I had made myself with the knowledge that I learnt. I also really liked the exhibition evening, I thought it was great that students were able to perform in front of family and other visitors. I thought my role of being a tour guide was important and made the evening really professional.” – Alfie, 12

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Module 1 / Introduction to REAL Projects

Project Cards

#whochangedmyworld: CALLIGRAM ARTWORK Project Overview:

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The project at RSA Academy aimed to have a real ‘Reading for meaning’ focus which developed pupils literacy skills through persuasive writing and speech creation. The competency focus was social responsibility and creativity. Pupils initially began by researching into who is inspirational, there was then a core focus on leading inspirational characters where by pupils compared for common traits. Students created a piece of artwork which they then exhibited at a range of locations across the local community, from offices, to local libraries and Women’s Aid centres. The students crated calligrams, and linked each piece to QR code which shared a speech with the person who scans it and explained how the person they have selected is inspirational, and how they showed social responsibility.

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Student Voice: “I am enjoying having a creative part to the project and I can really see what we are doing in literacy too” — Lauren

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Module 1 / Introduction to REAL Projects

Project Cards

HOW CAN WE WRITE AND TELL STORIES THAT SCARE OUR READER?

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Project Overview: As part of this project, Year 7 students at School 21 spent time in Hackney Central Graveyard to write spooky stories. While on that trip, students wrote five different pieces and brought those back to school for critique and drafting. Students worked with each other, their teacher, and a professional editor in a one-to-one conference and drafted their piece to a high quality. They then worked collaboratively to publish their book and hosted a book reading at their school wide exhibition in December 2014.

Student Voice:

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“I read a lot on my own now. I felt really happy that we did the spooky stories exhibition because it was fun that we scared people. It felt good to publish our book and I like that people can read it in the library. My writing got better because we wrote lots of drafts.”

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Module 1 / Introduction to REAL Projects

Project Cards

HOW CAN WE USE OUR WORDS TO HELP SAVE WILDLIFE?

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Project Overview: For this English and Science project, students are creating a pack of campaign literature to help the public to address targets set out in the government written ‘Biodiversity Action Plan for Newham’. This document looks at how people in the borough should make the area more biodiverse so students are creating informative leaflets and how-to guides to help the public encourage 7 target animals back to the area. As part of their exhibition, they presented to residents and employees of Get Living London, a local property management company in Stratford.

Project Timeline:

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•Week 1: Review model and trip to explore local area and current wildlife situation; Letter to residents and grounding text (GT) •Week 2-6: Critique and Drafting of leaflets; Trip to farm; GT •Week 7-10: Expert scientist critique on leaflets; Critique and redraft on ‘How-to’ instructions; Building day; ‘Cold Assessment’ and GT Week 11-12: Exhibition design; Exhibition presentation critique; Exhibition

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Module 1 / Introduction to REAL Projects

Project Cards

HOW CAN ART BE USED TO EXPLAIN SCIENTIFIC CONCEPTS?

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Project Overview: Students were commissioned to make a model sculpture as part of a competition by the London Legacy Development Corporation for a public sculpture in the Queen Elizabeth Olympic Park that celebrates the link between art and science. Responding to a chemical reaction, students were asked to translate their understanding into a sculpture that expresses the mood of the reaction (form, colour, texture) and references the molecular structure of the elements. The result is a highly original collection of sculptures, the design of which was also inspired by the work of Anish Kapoor. Students were expected to present their final sculpture and scientific concept to an audience.

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Assessed Outcomes: 1. Story of Learning Display 2. Scientific Practical Film 3. Science Exam 4. Final Model Sculpture 5. Story of Learning Presentation

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Module 1 / Introduction to REAL Projects

Project Cards

HOW DID WW2 CHALLENGE PEOPLE’S MORALITY?

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Project Overview: As a year group, students at School 21 produced a comic magazine called ‘The People’s War’ that was published and sold to raise money for a charity that supports those impacted by WW2. The magazine includes stories of how the war affected people from all sides and that challenged our sense of morality. Students worked in pairs or trios to research real life stories that were illustrated in a comic format.

Significant Content: In this project, students will show…

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• a good historical understanding of WW2 and the different countries involved and their interests • an ability to research and describe personal stories by individuals involved in WW2 from either a British/American/German/European/ Russian/Japanese perspective and identify moral issues that affected those people • an ability to analyse comic and present a practical understanding of basic comic conventions

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Module 1 / Introduction to REAL Projects

Project Cards

How can we demonstrate the complexities of revolution in immersive theatre format?

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Project Overview: Working in teams of various sizes, students selected the French or Russian Revolution to create an immersive theatre production, which was set in, or based around, real historical events. Students met with professional immersive theatre actors, producers and set designers to draft their ideas. Students took over spaces in the school and transformed the space for the evening exhibition.

Beautiful Outcomes:

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•(Historical) An essay based on the title: ‘What was the cause of the …… Revolution?’ •(Oracy) Post-production Q&A. •(History) Exam based on ‘Compare and Contrast the causes and consequences of the French and Russian Revolutions.' •(Drama) The immersive theatre performance and production •(Drama) The creative journal

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Module 1 / Introduction to REAL Projects

Project Cards

WHERE DOES THE ‘SUPER’ IN SUPERHERO COME FROM?

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Project Overview: In this project, Year 7 students at Stanley Park had to create their own superhero based around a scientific concept. They had to conduct a series of science experiments to investigate their concept and they then used the conventions of comic book drawing to design a front cover for their superhero’s origin story. As well as the front cover students had to produce an accurate write up of a science experiment. The final student products have been displayed in our school atrium for all visitors to the school to see.

Project Timeline:

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• Week 1: Project Launch; Trip to the Science Museum; How to conduct scientific experiments; Peer critique and redrafting ; Introduction to comic book drawing • Week 2: Independent science experiment write up and redrafting; Conventions of drawing a superhero; Plan of front cover design • Week 3: First draft of front cover; Critique and redrafting • Week 4: Third draft and critique; Project reflection; Final product due

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Module 1 / Introduction to REAL Projects

Project Cards

HOW CAN WE REPRESENT DIFFERENT PERSPECTIVES IN WW1?

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Project Overview: Students researched multiple perspectives of WW1 and represented each perspective in an historically accurate mural. The purpose was to visually represent the stories of those involved in the war and give voice to the lesser known roles/perspectives. Perspectives included Gurkhas, RAF, British Soldier, Women on the Home Front, Women on the Front line, Navy, Egyptian and Palestinian Soldiers, Generals, French and Belgian Civilians, Chinese Labour Corps, and Conscientious Objectors.

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Module 1 / Introduction to REAL Projects

Project Cards

HOW CAN WE WRITE AND PUBLISH ABOUT OUR FAMILY’S HISTORY?

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Project Overview: As part of their humanities project, Year 7 students at Wapping High School went into the community to find local historical heroes and captured their stories through interviews. After analysing primary and secondary sources to verify their accounts, students then worked collaboratively to publish all 55 stories in a book available for purchase. They had their exhibition at Hackney Pirates, a local bookstore where the book is on sale to the community.

Student Voice:

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“I am a copy editor. I’m writing a summary of every account so that a reader can engage with the summaries at the beginning of the book and go to the ones that interest them. I really enjoy this. I love reading and I love English. It has been really challenging because we have a real product. I’ve definitely been stretched and the teamwork has been great. Every day I’ve been going home and talking to my parents about the challenging things I’m doing. And we’re publishing a book!”

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Module 1 / Introduction to REAL Projects

Project Cards

WHAT IS THEATRE? Project Overview: Year 1 at Surrey Square Primary School dedicated weeks to understanding theatre, creating a production of Jack and the Beanstalk. Cows mooed, beanstalks grew right before our eyes and giants fi-fo-fummed their way across sets brimming with life and detail, with houses, castles, massive tins of 'Beenz' and golden eggs.

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Not only did the children of Year 1 star in the show, they prepared play scripts, designed sets and props, worked as ushers, sold popcorn and there was even a technical crew. The choir and musicians had the audience standing and demanding an encore performance, while stage hands changed scenes with organised stealthy precision.

Teacher Voice:

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“The exposure to the world of theatre has opened many young eyes to the world of work with children already making plans to be actors and set designers. Year 1 have achieved something memorable and amazing and it showed everyone the potentially rich rewards of Project Based Learning. 'Everyone gave 100% It was shockingly brilliant' Review from a parent. The show was even featured in the local Southwark News.”

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Module 1 / Introduction to REAL Projects

Project Cards

WHAT WAS LIFE LIKE IN THE MIDDLE AGES? Project Overview:

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In this project, Year 7 students at Stanley Park were asked to work together to research, design and write a historical information book aimed at young people aged 10-13 which was published and sold on blurb.com. Students had to take responsibility for all aspects involved in producing the book including the design, finding historically accurate information and editing their book so it was suitable for publishing. Each individual student had to write and illustrate a double page spread on a topic of their choice around the medieval period. In order to ensure the book was formatted in a house style students’ analysed existing examples of non-fiction history books, conducted market research and then co-developed a criteria that specified nonnegotiable features of each page. The pages went through multiple drafts, with students and teachers critiquing the work until it reached a professional standard.

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Student Voice: “My favourite part was getting from our first page to getting to our final page and seeing the difference. This was the most exciting part – seeing what we could actually do.” ‘It makes me want to make my work better knowing someone else is going to see it.”

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Module 1 / Introduction to REAL Projects

Project Cards

WHAT IS A HERO IN TODAY’S SOCIETY? Project Overview:

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Year 7 students at Stanley Park created a visual and textual representation of a hero in our local community. Students used literary devices, sensory details, and the narrative form to create a written character sketch of their hero in a heroic moment and then represent that moment through art. They will then invite their heroes in for an exhibition of this work.

Essential Content: • To understand how to write creatively using sensory description. • To be able use effective description and imagery to convey a moment in time. • To understand how to create an emotional response in a reader.

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• To understand how symbolism is used in art to show feelings and ideas. • To be able to apply the concept of symbolism to create a symbolic representation of a hero.

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REAL projects planner

ACTIVITIES

Complete the REAL Projects planner. You may opt to adapt a project that struck you from your exploration of the REAL Projects Cards. (Optional) Make a poster or graphic of your project Team Task: Use your collective brainstorming and ideas to design a curriculum map for one or two years of REAL Projects (ref: Stanley Park)

REAL PROJECT PLANNER Project Name

Project Summary What you’re going to do and why?

Date(s)

Products/ Deadlines

Content/ Skills

Essential Question Should be inspiring, requiring you to conduct serious research and relate to a real world issue

Project start and end date

Exhibition date Project start and end

Learning Goals Key curriculum content:

Key skills:

Grounding text:

REAL.

PROJECTS

OUR REAL PROJECT Project Name

Project Summary

Essential Question

Key Milestones

Students are demonstrating a RIGOROUS undertstanding for the depth of subject knowledge by.....

Students are ENGAGING with their learning because....

engaging

authentic

Should be inspiring, requiring you to conduct serious research and relate to a real world issue

The evidence that students are behaving in an AUTHENTIC role as ____________(Scientist, ethnographer)

rigorous

R E A L

learning

What you’re going to do and why?

Students are making links between content and skills they have LEARNED by....

Products What you’re going to do/write/ create/build?

Exhibition Venue Where will the exhibition take place?

Exhibition Plan How will you promote the exhibition? How will you exhibit your work? Who will you be inviting?

REAL.

PROJECTS

• Now, share your project plan and/or graphic to the REAL Projects Google+ Community.

REFLECTIONS

• Which of the six REAL Projects components do you think are the strongest in your plan? Which ones do you think are the least strong? Why? What questions or concerns do you have about your project design? • Share your reflections with the G+ Community, or share them with like-minded colleagues at your school.